Warner Chappell CEO Guy Moot says don't demonise AI: license it, because 'average music' is what's in trouble

“I haven’t seen huge AI hits yet, I haven’t seen it eat anybody’s lunch.”

That’s Guy Moot, the chairman and chief executive of Warner Chappell Music, one of the largest music publishers in the world. He told the Press Association on November 5, 2026 that the music industry must be “careful not to demonise” AI, in an interview published by the Evening Standard.

Moot was speaking ahead of the Music Industry Trusts Award, which marks his 30 years in music in London on November 9. His company publishes Raye, Dua Lipa and David Bowie’s back catalogue, so when he talks about AI, he’s talking about songwriters’ income.

Why Guy Moot wants AI companies licensed, not only sued

Moot accepts that AI divides people. “It’s quite a divisive topic right now, there’s different feelings amongst songwriters and artists about this, which we respect,” he said.

His case is that licensing does a job the courts and lawmakers can’t do alone:

“I think we talk about litigation, legislation, but licensing, we want to be licensing these people to set a precedent that they need to pay for music and for songwriters, and do it from legally trained databases, and do all the right things and get songwriters paid.”

And the risk if nobody does that? “I do believe that’s important, if we don’t do that these companies will come off leash as such or go rogue, and that’s going to be a problem.”

Warner is already doing both things Moot describes. Warner Music Group has deals with Suno, Udio, Stability AI and KLAY, and Warner Chappell is suing Anthropic alongside Sony Music Publishing. Moot says Warner licenses “only the ones who are legitimately doing the right things.”

So who loses if AI companies are all paying? Moot has a blunt answer.

Guy Moot on average music, notable songs and ‘AI slop’

“I said at the very beginning of this, if you’re making average music, you might be in trouble, but who wants to go and make average music?” Moot said.

The other side of that line is where he sees upside. “I would say if you have notable songs and incredible songwriters, and great artists, I think it’s going to actually be beneficial. I think it’s going to highlight how good these people are.”

He adds live music to that argument: “People want tangible, real experiences, they want to feel that moment in a field, at a festival, in a show, so I think it’s going to make that more valuable.”

Moot also says there have been “good efforts” across the industry to label what he calls “AI slop”. Spotify says it took 50 million AI slop and spam tracks out of recommendations this year, and YouTube Music now labels AI songs.

Moot’s next point is about the people who aren’t trying to make a hit at all.

Why Guy Moot says hobbyists are a reason not to demonise AI

“I do think AI, from a training point of view, not everybody is trying to release 50,000 tracks a month, there’s people who are hobbyists who I think will find the joy of creating music who couldn’t, and will make a song for their kids’ birthday party,” Moot said.

That’s the line the headline came from:

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So I think we've got to be careful not to demonise it.

He also pushed back on Wall Street. “I know some of the analysts are saying Warner Music Group should be graded down because they think we’re at risk from AI, but I think they are misreading the opportunity,” he said.

Not everyone in music agrees with him.

How Guy Moot’s view compares with Tony Visconti, Nia Archives and Linda Perry

The Press Association report sets Moot’s comments next to 3 other voices:

• Tony Visconti, the former David Bowie producer, said he thinks the late star would have experimented with AI, but that he thinks it is “disgusting”.
• Nia Archives, the dance music producer, said AI music “won’t last”.
• Linda Perry, the 4 Non Blondes singer, said in May that artists should “embrace” AI.

Among the bosses, Universal’s Lucian Grainge has taken a harder line on money, saying streaming services should stop paying AI tracks the same as real artists.

Moot collects his award in London on November 9, at a ceremony supporting The Brit Trust and Nordoff and Robbins. Not bad for someone who, as the Press Association points out, started out as a tractor driver in the West Country.